Pointe Magazine - Backstagehttp://www.pointemagazine.com/taxonomy/term/616/0
enReal Life Dance: Rehearsing For Broadwayhttp://www.pointemagazine.com/issues/februarymarch-2005/real-life-dance-rehearsing-broadway
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<a href="/issues/2009/november-4">February/March 2005</a> </div>
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Dancers in The Phantom of the Opera have a different schedule than those in ballet companies. </div>
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<p>Harriet Clark auditioned for the U.S. production of The Phantom of the Opera on a Friday. She had one week of rehearsals and made her Broadway debut the following Tuesday. Twelve years and two children later, Clark is the dance captain of this 17-year-old musical.</p><p>Carly Sebouhian, whose background is ballet but found herself “disillusioned with the whole ballet world,” knew she wanted to attempt other forms of dance despite little experience in musical theater. She joined the cast of Phantom’s ballet chorus in 2003.</p><p>Sebouhian describes the process of learning the show as a crash course. During a new dancer’s rehearsal week, there are usually three days that the dancers rehearse from noon to 5 pm. After learning her material, the new dancer trails the person performing her future part. This means following that cast member around backstage, walking through the crossovers, costume changes, prop setting and sequencing. Next is a run with a skeleton cast, where only the new dancer is in costume. The last step is the “final dress,” which is actually the new dancer’s first performance in front of the audience.</p><p>It’s a whirlwind process that leads to eight shows a week. Only then can the new performer exhale and relax into her part. Clark says that although the preparation is done fast, the intense performance schedule allows the cast members to become comfortable in their roles very quickly. On tour the process can be even shorter. Sebouhian was recently called to join the tour cast and learned a new part in just two hours.</p><p>A ballet background makes this process easier. Clark, who danced with American Ballet Theatre and was a soloist at Pacific Northwest Ballet, says that 10 years ago, Phantom’s ballet chorus was largely made up of dancers looking for a way to transition from professional ballet careers. Now, however, more of the dancers are coming from intense ballet programs and looking to break into musicals. Either way, Clark says, “your ballet training and technique will get you the job.”</p><p>As dance captain of the show, Clark runs dance rehearsals and teaches every cast member (except the Phantom himself) his or her material. She’s also the ballet swing, which means she must be prepared to replace any of the dancers at any time.</p><p>Despite these responsibilities, Clark contends that the show is not a tremendous time commitment. Most dancers arrive at the theater about an hour before curtain and leave just after the show. “It isn’t like a ballet company where you take class and rehearse all day and then perform at night.” The cast is usually free during the day unless there’s a matinee, cast change, a new principal that needs a full-cast rehearsal or a rare visit from director Hal Prince or choreographer Gillian Lynne.</p><p>The performance schedule allows the show to remain tight and makes regular rehearsals unnecessary. “It’s quite a ship,” says Clark, referring to the amount of organization that can make the show seem easy after a while. Much of the sailing is on cruise control. But with eight shows a week, there’s still a chance that dancers can lose focus and energy. Clark believes that the cast changes help to keep the show fresh because the performers are more alert. “Thinking is a really good thing in a long-running show,” she says.</p><p>Once dancers join, the show’s flexibilty allows them to attend classes, gain experience auditioning or take a leave of absence. If the situation is right, Phantom can also provide the chance to perform different roles, which is how Sebouhian has had the opportunity to perform the part of Meg Giry.</p><p>At the audition, the supervisors notice whether someone has the right look for a part. They’re also conscious of understudy possibilities when they make their casting decisions. Clark stresses the fact that the show is set in the 1870s and requires a certain style of movement and a period look. Sebouhian’s curly hair, coloring and soft features put her in line with the look of the show. Soon after being hired, Sebouhian was told that she would eventually learn the part of Meg. She began taking voice lessons and is now the first understudy for Meg, who is a featured singer in some of the show’s songs.</p><p>Although Sebouhian has taken on the responsibility of understudying Meg, her time commitment to the show is largely the same. In addition to her usual schedule, she rehearses about once a month for the part. Clark taught her the role, and they also worked with the stage manager, musical director and musical supervisor. Meg does everything the ballet chorus does, and when she is in the chorus, Sebouhian is able to watch many of Meg’s other scenes during the show. There are some nights when she learns she’ll perform Meg an hour and a half before the 8 pm curtain. Her routine doesn’t change very much when this happens. She reviews the role mentally and does a short vocal warmup.</p><p>The primary difference is in her approach to the role. When playing Meg, Sebouhian focuses on her acting rather than her dancing. Because she had never taken an acting class before joining the show, she finds this to be one of her biggest challenges. But the guidance and performing experience she has received with the show have given her the tools she needs. The brilliance of Phantom is that it actually encourages its performers to branch out and expand their talent in other fields.</p><p><em><br />Ilona Wall dances with the Suzanne Farrell Ballet and Dances Patrelle.</em></p> </div>
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<a href="/gallery/februarymarch-2005/harriet-clark-coaches-carly-sebouhian-meg-role-ballet-chorus-section">Harriet Clark coaches Carly Sebouhian on the Meg role in the ballet chorus section of The Phantom of the Opera.</a> </div>
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BackstageBroadwayCarly SebouhianFeaturesHarriet ClarkReal Life DanceWed, 16 Dec 2009 19:25:12 +0000974 at http://www.pointemagazine.comHarriet Clark coaches Carly Sebouhian on the Meg role in the ballet chorus section of The Phantom of the Opera.http://www.pointemagazine.com/gallery/februarymarch-2005/harriet-clark-coaches-carly-sebouhian-meg-role-ballet-chorus-section
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<img class="imagefield imagefield-field_media_image" width="2406" height="3599" alt="" src="http://www.pointemagazine.com/sites/default/files/images/09/Dec/78646-RLD-01.jpg?1260990298" /> </div>
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Courtesy of Andrew French </div>
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Harriet Clark coaches Carly Sebouhian on the Meg role in the ballet chorus section of The Phantom of the Opera. </div>
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Issue:&nbsp;</div>
<a href="/issues/2009/november-4">February/March 2005</a> </div>
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<span class="date-display-single">Wed, 2009-12-16</span> </div>
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BackstageBroadwayCarly SebouhianHarriet ClarkThe Phantom of the OperaWed, 16 Dec 2009 19:05:36 +0000cstabenau973 at http://www.pointemagazine.comLondon Diaryhttp://www.pointemagazine.com/issues/aprilmay-2005/london-diary
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<a href="/issues/2009/november-0">April/May 2005</a> </div>
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A week of performances in London—through the eyes of a corps member
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<p>My name is Amanda Schull. I am a fifth-year corps member with the San Francisco Ballet. During my time with the company I have been lucky enough to travel on tour to several different countries. This past September, SFB stopped in Athens, Greece, before heading to the Sadler’s Wells Theatre in London, England.</p><p>This tour was one of the most intense I had experienced with the company. By the time we got to London we had already been on tour for 10 days, and the schedule planned was daunting. We opened three different programs in three days, a total of 11 ballets. I knew our seven shows would be memorable so I documented the experience in a diary.&nbsp; <br /><br /><strong>Wednesday, September 15</strong><br />The company arrived in London today. Arriving and checking in is always hectic on tour. We got to our hotel tonight at about 11:30 pm and all 51 of us scrambled to get our luggage from beneath the bus and then made a mad dash to the hotel lobby for our room keys. Adding the element of hunger to the mix, we were a lobby full of cranky dancers.&nbsp;</p><p>Room service was closed, so we wandered the streets in search of sustenance. A group of us found a small Middle Eastern take-out place and wolfed down our falafels before going to bed, because tomorrow morning we start work.&nbsp; <br /><br /><strong>Saturday, September 18</strong><br />We can’t get into the Sadler’s Wells Theatre until the day of the first show, so Saturday and Sunday we rehearse in the Royal Opera House. This morning, The Royal Ballet took class in the studio next to us. Their class started after ours, but once we realized they were next door, a bunch of us crammed in front of the viewing window and ogled their class. Sylvie Guillem stood in the corner. I think she is the only female dancer I know that men marvel at just as open-mouthed as women do. It’s crazy to see our principals so starstruck over another dancer. I wonder if any of The Royal Ballet dancers feel that way about us.&nbsp;</p><p>I think one of the most interesting parts of touring is using other companies’ workspaces. Getting to see other professional dancers in class and rehearsal is both educational and relieving. No one looks perfect in class (except maybe Sylvie), and knowing that this is true for other professionals puts many minds at ease.&nbsp;</p><p>Today and tomorrow are long workdays. Because our rep is so ambitious for this tour, SFB flew in our company chiropractor. We also have our physical therapist and massage therapist with us, so what little downtime we have is often spent on body management. I know it sounds like we’re spoiled, but the physical demands are great and it’s hard to take care of injuries while on tour. We don’t have the regular comforts of home, and we spend a lot of time lugging our bags everywhere, so we’re all thankful for the extra therapy.</p><p><strong>Monday, September 20</strong><br />Program 1: <em>Square Dance, Continuum</em> and <em>Le Carnaval des Animaux<br /></em></p><p>Tonight was opening night at Sadler’s Wells. We had class at 11:15, then dress rehearsal from 1:30 to 4:30. I was in <em>Square Dance</em>. After the dress, we got our notes onstage. The artistic staff seemed a little anxious. Opening night in a city as culturally aware as London means we need to be at our best.&nbsp;</p><p>Then Helgi [Tomasson, SFB artistic director] gave us an inspirational “just go out there and dance!” talk. It’s relieving to hear that he is aware of our stress level. By the time you get to opening night, if you don’t already have the technique, it isn’t going to happen in the next couple of hours.&nbsp;</p><p>Dress finished at 4:30 and there was just enough time to grab a snack, collect our thoughts and do it all over again for the 7:30 curtain.</p><p>Backstage, our crew sets up small tables with everything we could possibly need for the performance, including emergency sewing items (needles and thread of all colors), safety pins, Band-Aids, Neosporin, Advil, colored markers for costume camouflage, tissues, hairpins, hairspray, toe tape and a box of rosin.</p><p>Before each show, the girls usually congregate around the rosin box and discuss the upcoming ballet while we put on our shoes. Tonight we discussed our collective nervousness. Balanchine’s <em>Square Dance</em> is one of the most demanding ballets—both physically and technically—any of us has ever performed. The guys seemed calmer. I don’t know if they really were or if they just wanted to appear macho.&nbsp;</p><p>Throughout the ballet, my partner, Garrett Anderson, talked to me onstage. He knows I like the verbal encouragement. It seems silly, but it really helps to have someone cheering you on when you feel you are reaching your physical limit.&nbsp;</p><p>Whenever possible, I try to connect with the other dancers onstage. We are each other’s support system, especially when we are away from home. Tonight when I looked at my fellow dancers, I was humbled. Everyone looked great, especially Tina LeBlanc; she danced like she had lightning bolts shooting through her feet.&nbsp;</p><p>We hit our final pose and the audience roared on the blackout. <em>Square Dance</em> is so technical that it sometimes doesn’t come across to an audience unless they understand ballet. This audience did. Whenever I question why I do what I do, I am reminded when I bow. Perhaps it is the validation or the confirmation that all we put ourselves through is appreciated. Today we put ourselves through a lot.</p><p>Back in the dressing room, the corps girls spent at least 15 minutes dissecting the ballet from top to bottom. We broke down each little section and imitated ourselves doing every step, each one of us exaggerating our flaws more than the last. After exerting so much energy I think we all needed a little comic relief.&nbsp;</p><p>After the performance, one of our principals and resident choreographer, Yuri Possokhov, asked me if <em>Square Dance</em> was “hard.” What? Hard? That doesn’t even encompass it. He said we all looked so calm and controlled. That is a huge compliment, considering we all felt as though we were going to die of exhaustion.&nbsp; <br />There was a reception in the theater lobby after the performance. Everyone there was very complimentary about the show, but the party didn’t last very long. We have to do it all again tomorrow.&nbsp;</p><p><strong>Tuesday, September 21</strong><br />Program 2: <em>Ballo Della Regina, Concerto Grosso, Study in Motion </em>and <em>The Four Temperaments</em><br /><br />Like yesterday, class was followed by dress rehearsal onstage. I misjudged the amount of time I had to get ready for Balanchine’s <em>Ballo Della Regina</em> and ended up doing rehearsal pretty cold—not good for a jumping variation.</p><p>Because of that, I was disappointed with how my rehearsal went. After <em>Ballo</em>, a couple of the corps girls who had been watching from out front complimented me. It’s funny how much a peer’s praise can lift your spirits when you need it.&nbsp;</p><p>I returned the favor by watching <em>The Four Temperaments</em> (also choreographed by Balanchine) from the house. When I went onstage afterward, everyone was hungry for corrections and advice, especially the girls. Sometimes on tour, the little things get overlooked because of time constraints, and we often rely on each other for feedback. <br /><br /><strong>Wednesday, September 22</strong><br />Program 3; <em>Allegro Brillante, Paquita Pas de Trois, 7 for Eight</em>, and <em>Rush</em>&nbsp; <br /><br />I feel like I’m living in the movie Groundhog Day. Again we had class, dress rehearsal and then the performance. I danced in Christopher Wheeldon’s <em>Rush</em> . During class, Tina LeBlanc slipped and twisted her ankle. She dances so much on this tour, she is the last person we need going down. She performed through the pain, but after the show she was pretty uncomfortable.&nbsp;</p><p>Tomorrow we repeat Program 1 again. No more dress rehearsals!<br /><br /><strong>Saturday, September 25</strong><br />We’re done! The final stretch was pretty rough, but surprisingly, for a tour this intense, there were very few incidents.&nbsp;</p><p>Tina ended up having to take off a show because of her ankle, so Vanessa Zahorian stepped in for her in <em>Square Dance</em>. She and her partner, Guennadi Nedviguine, hadn’t even touched each other since last season, six months ago. She had one rehearsal the day of her performance, but she remembered all of the choreography and nailed the show.</p><p>I think everyone is ready to go home. Before the performance tonight I saw three of the moms in the company, Katita Waldo, Kristin Long and Tina LeBlanc, do a huddle and cheer, “We’re almost there! Tomorrow we get to see our babies!”</p><p>It made me realize how much these women sacrifice for their work.</p><p>After we finished, Helgi bowed onstage with us. When the curtain came down, he gave us a little “congratulations” speech.&nbsp; He was really pleased with our tour, which of course made all of us happy.<br />After the show a group of us went out for a “tour-well-done” dinner and toasted ourselves—how egotistical—but we deserved it. It was finally time for vacation!</p><p><br /><em>Amanda Schull is a member of the San Francisco Ballet corps de ballet.</em></p> </div>
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Amanda SchullBackstageDay In The LifeFeaturesHelgi TomassonLondonTouringWed, 16 Dec 2009 18:09:36 +0000aschull965 at http://www.pointemagazine.comReal Life Dance: Tech Effecthttp://www.pointemagazine.com/issues/octobernovember-2005/real-life-dance-tech-effect
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<a href="/issues/2009/november">October/November 2005</a> </div>
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Before the curtain goes up on any performance, a tech rehearsal allows everyone to make sure all systems are go. </div>
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<p>On tour or at home, a technical rehearsal is the one chance to see how the lights, music, scenery and costumes will come together before the audience arrives. Ordinarily, there is plenty of work to be done, but imagine having to tech a program at an elevation of 8,000 feet during sporadic storms, on a stage that is not entirely sheltered from the rain and is surrounded by evergreen-clad peaks as far as the eye can see. Welcome to the Vail International Dance Festival.</p><p>Jim Leitner, now in his eighth year as technical director and lighting designer at the VIDF, plays a different, but always indispensable role at each show. “In the nine days of performances and rehearsals [at the festival], I worked some 150 hours,” he says, adding that some of those hours are more supervisory, while other times he is designing cues, loading in props, or up on the scaffolding replacing or refocusing lights. For the “Different Dimensions” program, which included Dominic Walsh Dance Theater, nandanse and Smuin Ballet on August 2, Leitner worked with three different companies that had three very different sets of technical needs.&nbsp;</p><p>The tech for San Francisco–based Smuin Ballet was first that day. The company arrived with a lighting designer and stage manager, so to prepare Smuin’s <em>Fly Me to the Moon</em>, Leitner turned his booth over to them, lingering in the background in case there were questions about the space or lights. Leitner is well aware that, for crew and performers, the Gerald R. Ford Amphitheater takes some getting used to. “It’s handsome, but it’s not very flexible: no wings, no flies, nothing to make the tech easier,” he says.&nbsp;</p><p>One of the challenges particular to this space is the erratic weather. “This space gets so hot and so cold quickly,” he says, adding that the rapid temperature changes have a drastic impact on the floor, which expands and contracts with the weather. Pulling the floor taut at the beginning of the day, before the companies arrive to tech, usually prevents it from being an issue during the rehearsals.&nbsp;</p><p>The day’s second technical rehearsal was with Dominic Walsh Dance Theater, and it required a little more hands-on attention. Walsh brought only his technical director, so for his ballet, Katharsis, the festival’s stage manager called the cues and both Leitner and the company’s tech director made sure the piece ran without a hitch.</p><p>Lauri Stallings’ tech for her work for nandanse, <em>Bacchus’ Vessel</em>, proved the most demanding. In addition to having to finish setting light cues (an electrical storm the night before had derailed the process when it was only two-thirds complete), Stalling’s tech person didn’t show up. Leitner gave Stallings a crash course in calling light cues. “She would say, ‘cue 43,’ but then she didn’t say the magic word,” Leitner recalls. For the cue to be acted on, the crew has to hear the word “go.”</p><p>During the hour-and-a-half stage time that each company gets to tech, the dancers are also busy fine-tuning their use of the stage.</p><p>“There’s a huge adjustment, in that you’re pushed back by the space,” says Michael Levine, of nandanse, and also a member of The Joffrey Ballet. “You [always] have to find your leg and your center, [but] that’ s amplified in an outdoor space, because you’re competing with the environment around you, which is so much bigger. You feel that size, and you’ve got to create a larger scale. You’ve got to push yourself even more.”</p><p>Add to that the challenge of dancing at a high elevation. The festival has employees available to administer oxygen if necessary. Walsh chose to bring in his company early to deal with the thinner air. By the time tech rehearsal came around, the company had already been dancing in Vail for almost a week. “I wanted to make sure they were secure with the altitude,“ says Walsh. “A couple of them were sick the first night, so I’m glad that we got that out of the way.”</p><p>Difficulties aside, the sheer beauty of the setting may be another distraction, but it’s a pleasant one. “I love dancing out here,” says Lisa Keskitalo of nandanse and a former member of Hubbard Street Dance Chicago. “You’re onstage and if you get a moment, you can just look and see these majestic mountains. [Being here] gives you some nice perspective on what you’ re doing and why you’ re doing it.”</p><p><br /><em>Cari Cunningham is currently pursuing an MFA in dance at the University of Colorado, Boulder, and is the dance critic for The Daily Camera.</em></p> </div>
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BackstageFeaturesJim LeitnerReal Life DanceVail International Dance FestivalFri, 11 Dec 2009 15:56:35 +0000908 at http://www.pointemagazine.comEva Trapp in her dressing roomhttp://www.pointemagazine.com/node/840
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Photography by Michael Ray </div>
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Eva Trapp in her dressing room </div>
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Issue:&nbsp;</div>
<a href="/node/635">February/March 2008</a> </div>
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<span class="date-display-single">Tue, 2009-12-08</span> </div>
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BackstageEva TrappTue, 08 Dec 2009 16:41:40 +0000cstabenau840 at http://www.pointemagazine.com